Systems and methods for asynchronous band interaction in a rhythm action game

ABSTRACT

Provided are methods and systems and computer readable media for providing interaction between remote players and one or more local players of a rhythm-action game executed on a game platform. One or more local players is identified to participate in a networked session of a rhythm action game corresponding to a predetermined band template, each local player associated with a type of simulated musical instrument. A first type of simulated musical instrument, represented in the predetermined band template and not associated with any of the one or more local players, may then be identified, along with a remote player associated with the first type of simulated musical instrument. Then, game platforms of the local and remote players communicate to establish a networked session of the rhythm action game with the one or more local players and the identified remote player before initiating a game session where the players play the game.

RELATED APPLICATIONS

The present application is a continuation-in-part of U.S. application Ser. No. 12/140,000, filed Jun. 16, 2008 and titled “Systems and Methods for Online Band Matching in a Rhythm Action Game.” This application also claims priority to U.S. Provisional Application Ser. No. 60/944,054, filed Jun. 14, 2007 and titled “Systems and Methods for Simulating a Rock Band Experience,” the contents of which are expressly incorporated by reference herein.

BACKGROUND OF THE INVENTION

Music making is often a collaborative effort among many musicians who interact with each other. One form of musical interaction may be provided by a video game genre known as “rhythm-action,” which involves a player performing phrases from a pre-recorded musical composition using a video game's input device to simulate a musical performance. If the player performs a sufficient percentage of the notes or cues displayed, he may score well and win the game. If the player fails to perform a sufficient percentage, he may score poorly and lose the game. Two or more players may compete against each other, such as by each one attempting to play back different, parallel musical phrases from the same song simultaneously, by playing alternating musical phrases from a song, or by playing similar phrases simultaneously. The player who plays the highest percentage of notes correctly may achieve the highest score and win. Two or more players may also play with each other cooperatively. In this mode, players may work together to play a song, such as by playing different parts of a song, either on similar or dissimilar instruments. One example of a rhythm-action game is the GUITAR HERO series of games published by Red Octane and Activision. Another example of a rhythm-action game is the KARAOKE REVOLUTION series of games published by Konami.

In many cases players may wish to play rhythm action games online, either cooperatively or competitively, with remote players. Thus there exists a need for efficient ways of matching remote players of rhythm action games.

SUMMARY OF THE INVENTION

Broadly speaking, the present invention relates to methods and systems for providing interaction between remote players and one or more local players of a rhythm-action game having different instruments into bands for cooperative or competitive online play. Bands may require certain instrumentation, and one object of the invention is to efficiently match remote players or groups of players to quickly form bands with the desired instrumentation for a song and/or session of a game. For example, players may playas bands featuring a guitarist, a bassist, a drummer, and a vocalist, and matchmaking methods may be used to allow players to play with others remotely according to the needed instrumentation. Beneficially, the players can also interact asynchronously while waiting for other band members to be ready to play the game.

In one aspect, the present invention relates to methods for providing interaction between remote players and one or more local players of a rhythm-action game. In one embodiment, such a method includes identifying one or more local players to participate in a networked session of a rhythm action game corresponding to a predetermined band template, each local player associated with a type of simulated musical instrument. A first type of simulated musical instrument represented in the predetermined band template and not associated with any of the one or more local players may then be identified, along with a remote player associated with the first type of simulated musical instrument. Then the game platform of the local players communicates with a game platform of the remote player to establish a networked session of the rhythm action game before initiating a game session for the local players and the remote player.

In one aspect, the present invention relates to a computer program product, tangibly embodied in a computer-readable medium, for providing interaction between remote players and one or more local players of a rhythm-action game. The computer program product includes instructions operable to cause a data processing apparatus to perform various functions such as identifying one or more local players to participate in a networked session of a rhythm action game corresponding to a predetermined band template, each local player associated with a type of simulated musical instrument, identifying a first type of simulated musical instrument represented in the predetermined band template and not associated with any of the one or more local players, identifying a remote player associated with the first type of simulated musical instrument, and communicating with a game platform of the remote player, to establish a networked session of the rhythm action game with the one or more local players and the identified remote player before initiating a game session for the one or more local players and the identified remote player.

Beneficially, any of the above embodiments enjoy the following benefits. In some embodiments, the networked session of the rhythm action game also provide a standby interfaces to local players and remote players, which allow the local players and remote player to perform actions asynchronously with respect to the actions of the other players. For example, a local player can be customizing an avatar, while a remote player is viewing a high score table or leaderboard. Or vice versa. Additionally or alternatively, the players can be viewing or altering a band profile or indicate that they are ready to begin a gameplay session. When all players have indicated that they are ready to begin gameplay, the networked sessions on each game console of the players are synchronized and a gameplay session is initiated.

BRIEF DESCRIPTION OF THE DRAWINGS

The foregoing and other objects, aspects, features, and advantages of the invention will become more apparent and better understood by referring to the following description taken in conjunction with the accompanying drawings, in which:

FIG. 1A is an example screenshot of one embodiment of a multiplayer rhythm-action game;

FIG. 1B is a second example screenshot of one embodiment of a multiplayer rhythm-action game;

FIG. 1C is a block diagram of a system facilitating network play of a rhythm action game;

FIG. 1D is an example screenshot of one embodiment of network play of a rhythm action game;

FIGS. 2A and 2B are flow diagrams of embodiments of methods for matching suitable remote players to one or more local players of a rhythm-action game;

FIGS. 3A and 3B are example screenshots of a game which permits players to form bands with remote players;

FIG. 4A depicts a flow similar to that of FIG. 2A, but with the players using asynchronous shell interfaces to interact with the game and to send and receive notifications to/from other players consoles;

FIG. 4B is a screen shot depicting a player's view of a Hub Screen; and

FIGS. 5A, 5B, 5C, and 5D depict remote players and the leader performing various actions described herein asynchronously via their shells while waiting for all players to be ready.

DETAILED DESCRIPTION

Referring now to FIG. 1A, an embodiment of a screen display for a video game in which four players emulate a musical performance is shown. One or more of the players may be represented on screen by an avatar 110. Although FIG. 1A depicts an embodiment in which four players participate, any number of players may participate simultaneously. For example, a fifth player may join the game as a keyboard player. In this case, the screen may be further subdivided to make room to display a fifth avatar and/or music interface. In some embodiments, an avatar 110 may be a computer-generated image. In other embodiments, an avatar may be a digital image, such as a video capture of a person. An avatar may be modeled on a famous figure or, in some embodiments, the avatar may be modeled on the game player associated with the avatar.

Still referring to FIG. 1A, a lane 101, 102 has one or more game “cues” 124, 125, 126, 127, 130 corresponding to musical events distributed along the lane. During gameplay, the cues, also referred to as “musical targets,” “gems,” or “game elements,” appear to flow toward a target marker 140, 141. In some embodiments, the cues may appear to be flowing towards a player. The cues are distributed on the lane in a manner having some relationship to musical content associated with the game level. For example, the cues may represent note information (gems spaced more closely together for shorter notes and further apart for longer notes), pitch (gems placed on the left side of the lane for notes having lower pitch and the right side of the lane for higher pitch), volume (gems may glow more brightly for louder tones), duration (gems may be “stretched” to represent that a note or tone is sustained, such as the gem 127), articulation, timbre or any other time-varying aspects of the musical content. The cues may be any geometric shape and may have other visual characteristics, such as transparency, color, or variable brightness.

As the gems move along a respective lane, musical data represented by the gems may be substantially simultaneously played as audible music. In some embodiments, audible music represented by a gem is only played (or only played at full or original fidelity) if a player successfully “performs the musical content” by capturing or properly executing the gem. In some embodiments, a musical tone is played to indicate successful execution of a musical event by a player. In other embodiments, a stream of audio is played to indicate successful execution of a musical event by a player. In certain embodiments, successfully performing the musical content triggers or controls the animations of avatars.

In other embodiments, the audible music, tone, or stream of audio represented by a cue is modified, distorted, or otherwise manipulated in response to the player's proficiency in executing cues associated with a lane. For example, various digital filters can operate on the audible music, tone, or stream of audio prior to being played by the game player. Various parameters of the filters can be dynamically and automatically modified in response to the player capturing cues associated with a lane, allowing the audible music to be degraded if the player performs poorly or enhancing the audible music, tone, or stream of audio if the player performs well. For example, if a player fails to execute a game event, the audible music, tone, or stream of audio represented by the failed event may be muted, played at less than full volume, or filtered to alter its sound.

In certain embodiments, a “wrong note” sound may be substituted for the music represented by the failed event. Conversely, if a player successfully executes a game event, the audible music, tone, or stream of audio may be played normally. In some embodiments, if the player successfully executes several, successive game events, the audible music, tone, or stream of audio associated with those events may be enhanced, for example, by adding an echo or “reverb” to the audible music. The filters can be implemented as analog or digital filters in hardware, software, or any combination thereof. Further, application of the filter to the audible music output, which in many embodiments corresponds to musical events represented by cues, can be done dynamically, that is, during play. Alternatively, the musical content may be processed before game play begins. In these embodiments, one or more files representing modified audible output may be created and musical events to output may be selected from an appropriate file responsive to the player's performance.

In addition to modification of the audio aspects of game events based on the player's performance, the visual appearance of those events may also be modified based on the player's proficiency with the game. For example, failure to execute a game event properly may cause game interface elements to appear more dimly. Alternatively, successfully executing game events may cause game interface elements to glow more brightly. Similarly, the player's failure to execute game events may cause their associated avatar to appear embarrassed or dejected, while successful performance of game events may cause their associated avatar to appear happy and confident. In other embodiments, successfully executing cues associated with a lane causes the avatar associated with that lane to appear to play an instrument. For example, the drummer avatar will appear to strike the correct drum for producing the audible music. Successful execution of a number of successive cues may cause the corresponding avatar to execute a “flourish,” such as kicking their leg, pumping their first, performing a guitar “windmill,” spinning around, winking at the “crowd,” or throwing drum sticks.

Player interaction with a cue may be required in a number of different ways. In general, the player is required to provide input when a cue passes under or over a respective one of a set of target markers 140, 141 disposed on the lane. For example, the player associated with lane 102 (lead guitar) may use a specialized controller to interact with the game that simulates a guitar, such as a Guitar Hero SG Controller, manufactured by RedOctane of Sunnyvale, Calif. In this embodiment, the player executes the cue by activating the “strum bar” while pressing the correct fret button of the controller when the cue 125 passes under the target marker 141. In other embodiments, the player may execute a cue by performing a “hammer on” or “pull off,” which requires quick depression or release of a fret button without activation of the strum bar. In other embodiments, the player may be required to perform a cue using a “whammy bar” provided by the guitar controller. For example, the player may be required to bend the pitch of a note represented by a cue using the whammy bar. In some embodiments, the guitar controller may also use one or more “effects pedals,” such as reverb or fuzz, to alter the sound reproduced by the gaming platform.

In other embodiments, player interaction with a cue may comprise singing a pitch and or a lyric associated with a cue. For example, the player associated with lane 101 may be required to sing into a microphone to match the pitches indicated by the gem 124 as the gem 124 passes over the target marker 140. As shown in FIG. 1A, the notes of a vocal track are represented by “note tubes” 124. In the embodiment shown in FIG. 1A, the note tubes 124 appear at the top of the screen and flow horizontally, from right to left, as the musical content progresses. In this embodiment, vertical position of a note tube 124 represents the pitch to be sung by the player; the length of the note tube indicates the duration for which the player must hold that pitch. In other embodiments, the note tubes may appear at the bottom or middle of the screen. The arrow 108 provides the player with visual feedback regarding the pitch of the note that is currently being sung. If the arrow is above the note tube 124, the player needs to lower the pitch of the note being sung. Similarly, if the arrow 108 is below the note tube 124, the player needs to raise the pitch of the note being sung. In these embodiments, the vocalist may provide vocal input using a USB microphone of the sort manufactured by Logitech International of Switzerland. In other embodiments, the vocalist may provide vocal input using another sort of simulated microphone. In still further embodiments, the vocalist may provide vocal input using a traditional microphone commonly used with amplifiers. As used herein, a “simulated microphone” is any microphone apparatus that does not have a traditional XLR connector. As shown in FIG. 1A, lyrics 105 may be provided to the player to assist their performance.

In still other embodiments, a player interaction with a cue may comprise any manipulation of any simulated instrument and/or game controller.

As shown in FIG. 1A, each lane may be subdivided into a plurality of segments. Each segment may correspond to some unit of musical time, such as a beat, a plurality of beats, a measure, or a plurality of measures. Although the embodiment shown in FIG. 1A show equally-sized segments, each segment may have a different length depending on the particular musical data to be displayed. In addition to musical data, each segment may be textured or colored to enhance the interactivity of the display. For embodiments in which a lane comprises a tunnel or other shape (as described above), a cursor is provided to indicate which surface is “active,” that is, with which lane surface a player is currently interacting. In these embodiments, the viewer can use an input device to move the cursor from one surface to another. As shown in FIG. 1A, each lane may also be divided into a number of sub-lanes, with each sub-lane containing musical targets indicating different input elements. For example, the lane 102 is divided into five sub-lanes, including sub-lanes 171 and 172. Each sub-lane may correspond to a different fret button on the neck of a simulated guitar.

Referring now to FIG. 1B, a second embodiment of a screen display for a video game in which four players emulate a musical performance is shown. In the embodiment shown, the lanes 103, 104 have graphical designs corresponding to gameplay events. For example, lane 103 comprises a flame pattern, which may correspond to a bonus activation by the player. For example, lane 104 comprises a curlicue pattern, which may correspond to the player achieving the 6× multiplier shown.

In other embodiments, a game display may alternate the display of one or more avatars and/or the display of the band as a whole. For example, during the performance of a song, a display may switch between a number of camera angle providing, for example, close-ups of the guitarist, bassist, drummer, or vocalist, shots of the band as a whole, shots of the crowd, and/or any combination of the avatars, stage, crowd, and instruments. In some embodiments, the sequence and timing of camera angles may be selected to resemble a music video. In some embodiments, the camera angles may be selected to display an avatar of a player who is performing a distinctive portion of a song. In other embodiments the camera angles may be selected to display an avatar of a player who is performing particularly well or poorly. In some embodiments, an avatar's gestures or actions may correspond to the current camera angle. For example, an avatar may have certain moves, such as a jump, head bang, devil horns, special dance, or other move, which are performed when a close-up of the avatar is shown. In some embodiments, the avatars motions may be choreographed to mimic the actual playing of the song. For example, if a song contains a section where the drummer hits a cymbal crash, the drummer avatar may be shown to hit a cymbal crash at the correct point in the song.

In some embodiments, avatars may interact with the crowd at a venue, and camera angles may correspond to the interaction. For example, in one camera angle, an avatar may be shown pointing at various sections of the crowd. In the next camera angle the various sections of the crowd may be shown screaming, waving, or otherwise interacting with the avatar. In other embodiments, avatars may interact with each other. For example, two avatars may lean back-to-back while performing a portion of a song. Or for example, the entire band may jump up and land simultaneously, and stage pyrotechnics may also be synchronized to the band's move.

In some embodiments, the “lanes” containing the musical cues to be performed by the players may be on screen continuously. In other embodiments one or more lanes may be removed in response to game conditions, for example if a player has failed a portion of a song, or if a song contains an extended time without requiring input from a given player.

Although depicted in FIGS. 1A and 1B, in some embodiments (not shown), instead of a lane extending from a player's avatar, a three-dimensional “tunnel” comprising a number of lanes extends from a player's avatar. The tunnel may have any number of lanes and, therefore, may be triangular, square, pentagonal, sextagonal, septagonal, octagonal, nonanogal, or any other closed shape. In still other embodiments, the lanes do not form a closed shape. The sides may form a road, trough, or some other complex shape that does not have its ends connected. For ease of reference throughout this document, the display element comprising the musical cues for a player is referred to as a “lane.”

In some embodiments, a lane does not extend perpendicularly from the image plane of the display, but instead extends obliquely from the image plane of the display. In further embodiments, the lane may be curved or may be some combination of curved portions and straight portions. In still further embodiments, the lane may form a closed loop through which the viewer may travel, such as a circular or ellipsoid loop.

It should be understood that the display of three-dimensional “virtual” space is an illusion achieved by mathematically “rendering” two-dimensional images from objects in a three-dimensional “virtual space” using a “virtual camera,” just as a physical camera optically renders a two-dimensional view of real three-dimensional objects. Animation may be achieved by displaying a series of two-dimensional views in rapid succession, similar to motion picture films that display multiple still photographs per second.

To generate the three-dimensional space, each object in the three-dimensional space is typically modeled as one or more polygons, each of which has associated visual features such as texture, transparency, lighting, shading, anti-aliasing, z-buffering, and many other graphical attributes. The combination of all the polygons with their associated visual features can be used to model a three-dimensional scene. A virtual camera may be positioned and oriented anywhere within the scene. In many cases, the camera is under the control of the viewer, allowing the viewer to scan objects. Movement of the camera through the three-dimensional space results in the creation of animations that give the appearance of navigation by the user through the three-dimensional environment.

A software graphics engine may be provided which supports three-dimensional scene creation and manipulation. A graphics engine generally includes one or more software modules that perform the mathematical operations necessary to “render” the three-dimensional environment, which means that the graphics engine applies texture, transparency, and other attributes to the polygons that make up a scene. Graphic engines that may be used in connection with the present invention include Gamebryo, manufactured by Emergent Game Technologies of Calabasas, Calif., the Unreal Engine, manufactured by Epic Games, and Renderware, manufactured by Criterion Software of Austin, Tex. In other embodiments, a proprietary graphic engine may be used. In many embodiments, a graphics hardware accelerator may be utilized to improve performance. Generally, a graphics accelerator includes video memory that is used to store image and environment data while it is being manipulated by the accelerator.

In other embodiments, a three-dimensional engine may not be used. Instead, a two-dimensional interface may be used. In such an embodiment, video footage of a band can be used in the background of the video game. In others of these embodiments, traditional two-dimensional computer-generated representations of a band may be used in the game. In still further embodiments, the background may be only slightly related, or unrelated, to the band. For example, the background may be a still photograph or an abstract pattern of colors. In these embodiments, the lane may be represented as a linear element of the display, such as a horizontal, vertical or diagonal element.

Still referring to FIG. 1B, the player associated with the middle lane 103 (drummer) may also use a specialized controller to interact with the game that simulates a drum kit, such as the DrumMania drum controller, manufactured by Topway Electrical Appliance Co., Ltd. of Shenzhen, China. In some embodiments, the drum controller provides four drum pads and a kick drum pedal. In other embodiments, the drum controller surrounds the player, as a “real” drum kit would do. In still other embodiments, the drum controller is designed to look and feel like an analog drum kit. In these embodiments, a cue may be associated with a particular drum. The player strikes the indicated drum when the cue 128 passes under the target marker 142, to successfully execute cue 128. In other embodiments, a player may use a standard game controller to play, such as a DualShock game controller, manufactured by Sony Corporation.

Referring back to FIG. 1A, in some embodiments, improvisational or “fill” sections may be indicated to a drummer or any other instrumentalist. In FIG. 1A, a drum fill is indicated by long tubes 130 filling each of the sub-lanes of the center lane which corresponds to the drummer.

In some embodiments, a player is associated with a “turntable” or “scratch” track. In these embodiments, the player may provide input using a simulated turntable such as the turntable controller sold by Konami Corporation.

Local play may be competitive or it may be cooperative. Cooperative play is when two or more players work together in an attempt to earn a combined score. Competitive play may be when a player competes against another player in an attempt to earn a higher score. In other embodiments, competitive play involves a team of cooperating players competing against another team of competing players in attempt to achieve a higher team score than the other team. Competitive local play may be head-to-head competition using the same instrument, head-to-head competition using separate instruments, simultaneous competition using the same instrument, or simultaneous competition using separate instruments. In some embodiments, rather than competing for a high score, players or teams may compete for the best crowd rating, longest consecutive correct note streak, highest accuracy, or any other performance metric. In some embodiments, competitive play may feature a “tug-of-war” on a crowd meter, in which each side tries to “pull” a crowd meter in their direction by successfully playing a song. In one embodiment, a limit may be placed on how far ahead one side can get in a competitive event. In this manner, even a side which has been significantly outplayed in the first section of a song may have a chance late in a song to win the crowd back and win the event.

In one embodiment, competition in local play may involve two or more players using the same type of instrument controller to play the game, for example, guitar controllers. In some embodiments, each player associates themselves with a band in order to begin play. In other embodiments, each player can simply play “solo,” without association with a band. In these embodiments, the other instruments required for performance of a musical composition are reproduced by the gaming platform. Each of the players has an associated lane and each player is alternately required to perform a predetermined portion of the musical composition. Each player scores depending on how faithfully he or she reproduces their portions of the musical composition. In some embodiments, scores may be normalized to produce similar scores and promote competition across different difficulty levels. For example, a guitarist on a “medium” difficulty level may be required to perform half of the notes as a guitarist on a “hard” difficulty level and, as such, should get 100 points per note instead of 50. An additional per-difficulty scalar may be required to make this feel “fair.”

This embodiment of head-to-head play may be extended to allow the players to use different types of game controllers and, therefore, to perform different portions of the musical composition. For example, one player may elect to play using a guitar-type controller while a second player may play using a drum-type controller. Alternatively, each player may use a guitar-type controller, but one player elects to play “lead guitar” while the other player elects to play “rhythm guitar” or, in some embodiments, “bass guitar.” In these examples, the gaming platform reproduces the instruments other than the guitar when it is the first player's turn to play, and the lane associated with the first player is populated with gems representing the guitar portion of the composition. When it is time for the second player to compete, the gaming platform reproduces the instruments other than, for example, the drum part, and the second player's lane is populated with gems representing the drum portion of the musical composition. In some of these embodiments, a scalar factor may be applied to the score of one of the player's to compensate for the differences in the parts of the musical composition.

In still other embodiments, the players may compete simultaneously, that is, each player may provide a musical performance at the same time as the other player. In some embodiments, both players may use the same type of controller. In these embodiments, each player's lane provides the same pattern of cues and each player attempts to reproduce the musical performance identified by those elements more faithfully than the other player. In other embodiments, the players use different types of controllers. In these embodiments, one player attempts to reproduce one portion of a musical composition while the other player tries to represent a different portion of the same composition.

In any of these forms of competition, the relative performance of a player may affect their associated avatar. For example, the avatar of a player that is doing better than the competition may, for example, smile, look confident, glow, swagger, “pogo stick,” etc. Conversely, the losing player's avatar may look depressed, embarrassed, etc.

Instead of competing, the players may cooperate in an attempt to achieve a combined score. In these embodiments, the score of each player contributes to the score of the team, that is, a single score is assigned to the team based on the performance of all players. As described above, a scalar factor may be applied to the score of one of the player's to compensate for the differences in the parts of the musical composition.

Still referring to FIG. 1A, an indicator of the performance of a number of players on a single performance meter 180 is shown. In brief overview, each of the players in a band may be represented by an icon 181, 182. In the figure shown the icons 181, 182 are circles with graphics indicating the instrument the icon corresponds to. For example, the icon 181 contains a microphone representing the vocalist, while icon 182 contains a drum set representing the drummer. The position of a player's icon on the meter 180 indicates a current level of performance for the player. A colored bar on the meter may indicate the performance of the band as a whole. Although the meter shown displays the performance of four players and a band as a whole, in other embodiments, any number of players or bands may be displayed on a meter, including two, three, four, five, six, seven, eight, nine, or ten players, and any number of bands.

The meter 180 may indicate any measure of performance, and performance may be computed in any manner. In some embodiments, the meter 180 may indicate a weighted rolling average of a player's performance. For example, a player's position on the meter may reflect a percentage of notes successfully hit, where more recent notes are weighted more heavily than less recent notes. In another embodiment, a player's position on the meter may be calculated by computing a weighted average of the player's performance on a number of phrases. In some embodiments, a player's position on the meter may be updated on a note-by-note basis. In other embodiments, a player's position on the meter may be updated on a phrase-by-phrase basis. The meter may also indicate any measure of a band's performance. In some embodiments, the meter may display the band's performance as an average of each of the players' performances. In other embodiments, the indicated band's performance may comprise a weighted average in which some players' performances are more heavily weighted.

In some embodiments, the meter 180 may comprise subdivisions which indicate relative levels of performance. For example, in the embodiment shown, the meter 140 is divided roughly into thirds, which may correspond to Good, Average, and Poor performance.

In some embodiments, a player or players in a band may “fail” a song if their performance falls to the bottom of the meter. In some embodiments, consequences of failing a song may include being removed from the rest of the song. In these embodiments, a player who has failed may have their lane removed from the display, and the audio corresponding to that player's part may be removed. In some embodiments, if a single member of a band fails a song, the band may consequently fail the song. In other embodiments, if a member of a band fails a song, one or more other members of the band may continue playing. In still other embodiments, one or more other members of a band may reinstate the failed player.

The icons 181, 182 displayed to indicate each player may comprise any graphical or textual element. In some embodiments, the icons may comprise text with the name of one or more of the players. In another embodiment the icon may comprise text with the name of the instrument of the player. In other embodiments, the icons may comprise a graphical icon corresponding to the instrument of the player. For example, an icon containing a drawing of a drum 182 may be used to indicate the performance of a drummer.

The overall performance of the band may be indicated in any manner on the meter 180. In the embodiment shown, a filled bar 180 indicates the band's performance as a whole. In other embodiments, the band's performance may be represented by an icon. In some embodiments, individual performances may not be indicated on a meter, and only the performance of the band as a whole may be displayed.

Although described above in the context of a single player providing a single type of input, a single player may provide one or more types of input simultaneously. For example, a single player providing instrument-based input (such as for a lead guitar track, bass guitar track, rhythm guitar track, keyboard track, drum track, or other percussion track) and vocal input simultaneously.

Still referring to FIG. 1A, meters 150, 151 may be displayed for each player indicating an amount of stored bonus. The meters may be displayed graphically in any manner, including a bar, pie, graph, or number. In some embodiments, each player may be able to view the meters of remote players. In other embodiments, only bonus meters of local players may be shown. Bonuses may be accumulated in any manner including, without limitation, by playing specially designated musical phrases, hitting a certain number of consecutive notes, or by maintaining a given percentage of correct notes.

In some embodiments, if a given amount of bonuses are accumulated, a player may activate the bonus to trigger an in-game effect. An in-game effect may comprise a graphical display change including, without limitation, an increase or change in crowd animation, avatar animation, performance of a special trick by the avatar, lighting change, setting change, or change to the display of the lane of the player. An in-game effect may also comprise an aural effect, such as a guitar modulation, including feedback, distortion, screech, flange, wah-wah, echo, or reverb, a crowd cheer, an increase in volume, and/or an explosion or other aural signifier that the bonus has been activated. An in-game effect may also comprise a score effect, such as a score multiplier or bonus score addition. In some embodiments, the in-game effect may last a predetermined amount of time for a given bonus activation.

In some embodiments, bonuses may be accumulated and/or deployed in a continuous manner. In other embodiments, bonuses may be accumulated and/or deployed in a discrete manner. For example, instead of the continuous bar shown in FIG. 1A, a bonus meter may comprise a number of “lights” each of which corresponds to a single bonus earned. A player may then deploy the bonuses one at a time.

In some embodiments, bonus accumulation and deployment may be different for each simulated instrument. For example, in one embodiment only the bass player may accumulate bonuses, while only the lead guitarist can deploy the bonuses.

FIG. 1A also depicts score multiplier indicators 160, 161. A score multiplier indicator 160, 161 may comprise any graphical indication of a score multiplier currently in effect for a player. In some embodiments, a score multiplier may be raised by hitting a number of consecutive notes. In other embodiments, a score multiplier may be calculated by averaging score multipliers achieved by individual members of a band. For example, a score multiplier indicator 160, 161 may comprise a disk that is filled with progressively more pie slices as a player hits a number of notes in a row. Once the player has filled the disk, the player's multiplier may be increased, and the disk may be cleared. In some embodiments, a player's multiplier may be capped at certain amounts. For example, a drummer may be limited to a score multiplier of no higher than 4×. Or for example, a bass player may be limited to a score multiplier of no higher than 6×.

In some embodiments, a separate performance meter (not shown) may be displayed under the lane of each player. This separate performance meter may comprise a simplified indication of how well the player is doing. In one embodiment, the separate performance meter may comprise an icon which indicates whether a player is doing great, well, or poorly. For example, the icon for “great” may comprise a hand showing devil horns, “good” may be a thumbs up, and “poor” may be a thumbs down. In other embodiments, a player's lane may flash or change color to indicate good or poor performance.

Each player may use a gaming platform in order to participate in the game. In one embodiment, the gaming platform is a dedicated game console, such as: PLAYSTATION2, PLAYSTATION3, or PLAYSTATION PERSONAL, manufactured by Sony Corporation; DREAMCAST, manufactured by Sega Corp.; GAMECUBE, GAMEBOY, GAMEBOY ADVANCE, or WII, manufactured by Nintendo Corp.; or XBOX or XBOX360, manufactured by Microsoft Corp. In other embodiments, the gaming platform comprises a personal computer, personal digital assistant, or cellular telephone. In some embodiments, the players associated with avatars may be physically proximate to one another. For example, each of the players associated with the avatars may connect their respective game controllers into the same gaming platform (“local play”).

In some embodiments, one or more of the players may participate remotely. FIG. 1C depicts a block diagram of a system facilitating network play of a rhythm action game. As shown in FIG. 1C, a first gaming platform 100 a and a second gaming platform 100 b communicate over a network 196, such as a local area network (LAN), a metropolitan area network (MAN), or a wide area network (WAN) such as the Internet or the World Wide Web. The gaming platforms connect to the network through one of a variety of connections including standard telephone lines, LAN or WAN links (e.g., T1, T3, 56 kb, X.25), broadband connections (e.g., ISDN, Frame Relay, ATM), and wireless connections (e.g., 802.11a, 802.11g, Wi-Max). The first gaming platform 100 a and the second gaming platform 100 b may be any of the types of gaming platforms identified above. In some embodiments, the first gaming platforms 100 a and the second gaming platform 100 b are of different types.

When a networked multiplayer game session begins at the direction of one of the players, that player's gaming platform 100 a (the “host”) transmits a “start” instruction to all other gaming platforms participating in the networked game, and the game begins on all platforms. A timer begins counting on each gaming platform, each player's game cues are displayed, and each player begins attempting to perform the musical composition.

Gameplay on gaming platform 100 a is independent from game play on gaming platform 100 b, except that each player's gaming platform contains a local copy of the musical event data for all other players. The timers on the various gaming platforms communicate with each other via the network 196 to maintain approximate synchrony using any number of the conventional means known in the art.

The gaming platforms 100 a, 100 b also continually transmit game score data to each other, so that each system (and player) remains aware of the game score of all other systems (and players). Similarly, this is accomplished by any number of means known in the art. Note that this data is not particularly timing sensitive, because if there is momentary disagreement between any two gaming platforms regarding the score (or similar game-related parameters), the consequences to gameplay are negligible.

In one embodiment, as each player plays the game at their respective location, an analyzer module 180 a, 180 b on that player's gaming platform 100 a, 100 b continually extracts data from an event monitor 185 a, 185 b regarding the local player's performance, referred to hereafter as “emulation data”. Emulation data may include any number of parameters that describe how well the player is performing. Some examples of these parameters include:

whether or not the most recent event type was a correctly-played note or an incorrectly-played note;

a timing value representing the difference between actual performance of the musical event and expected performance of the musical event;

a moving average of the distribution of event types (e.g., the recent ratio of correct to incorrect notes); and

a moving average of the differences between the actual performance of musical events and the expected performance times of the musical events; or a moving average of timing errors of incorrect notes.

Each analyzer module 180 a, 180 b continually transmits the emulation data it extracts over the network 196 using transceiver 190 a, 190 b; each event monitor 185 a, 185 b continually receives the other gaming platform's emulation data transmitted over the network 196.

In one embodiment, the emulation data essentially contains a statistical description of a player's performance in the recent past. The event monitor 185 a, 185 b uses received emulation data to create a statistical approximation of the remote player's performance.

In one particular example, an incoming emulation parameter from a remote player indicates that the most recent remote event was correctly reproduced. When the local event monitor 185 a, 185 b reaches the next note in the local copy of the remote player's note data, it will respond accordingly by “faking” a successfully played note, triggering the appropriate sound. That is, the local event monitor 185 a, 185 b will perform the next musical event from the other players' musical event data, even though that event was not necessarily actually performed by the other player's event monitor 185 a, 185 b. If instead the emulation parameter had indicated that the most recent remote event was a miss, no sound would be triggered.

In another particular example, an incoming emulation parameter from a remote player indicates that, during the last 8 beats, 75% of events were correctly reproduced and 25% were not correctly reproduced. When the local event monitor 185 a reaches the next note in the local copy of the remote player's note data, it will respond accordingly by randomly reproducing the event correctly 75% of the time and not reproducing it correctly 25% of the time.

In another particular example, an incoming emulation parameter from a remote player indicates that, during the last 4 beats, 2 events were incorrectly performed, with an average timing error of 50 “ticks.” The local event monitor 185 a, 185 b will respond accordingly by randomly generating incorrect events at a rate of 0.5 misses-per-beat, displacing them in time from nearby notes by the specified average timing error.

The above three cases are merely examples of the many types of emulation parameters that may be used. In essence, the remote player performances are only emulated (rather than exactly reproduced) on each local machine.

In this embodiment, the analyzer module 180 a, 180 b may extract musical parameters from the input and transmit them over a network 196 to a remote gaming platform. For example, the analyzer module 180 a, 180 b may simply transmit the input stream over a network 196 or it may extract the information into a more abstract form, such as “faster” or “lower.” Although described in the context of a two-player game, the technique may be used with any number of players.

Still referring to FIG. 1C, in another embodiment, analyzer module 180 a, 180 b extracts data from the event monitor 185 a, 185 b regarding the local player's performance. In this embodiment, however, the extracted data is transmitted over the network 196 using the transceiver 190 a, 190 b. When the analyzer 180 a, 180 b receives the transmitted data, it generates an emulation parameter representing the other player's musical performance and provides the locally-generated emulation parameter to the event monitor 185 a, 185 b, as described above. One advantage of this embodiment is that each player may locally set their preference for how they want the event monitor 185 a, 185 b to act on emulation parameters.

In other embodiments, the transmitted data is associated with a flag that indicates whether the transmitted data represents a successfully executed musical event or an unsuccessfully executed musical event. In these embodiments, the analyzer 180 a, 180 b provides a locally-generated emulation parameter to the event monitor 185 a, 185 b based on the flag associated with the transmitted data.

One unusual side effect of these techniques is that each local player does not hear an exact reproduction of the remote players' performances; only a statistical approximation. However, these statistical approximations have two countervailing positive attributes: because they are synchronized to the local player's timer and the local copy of the remote players' note data, they are synchronous with the local player's performance; and while not exact reproductions, they are “close enough” to effectively communicate to the local player the essence of how well the remote players are performing musically. In this model, delays in the transmission of the data over the network 196 do not have the intolerable side effect of causing cacophonous asynchronicity between the note streams triggering sounds on each player's local system.

In other embodiments, a central server may be used to facilitate communication between the gaming platforms 100 a, 100 b. Extraction of emulation parameters is performed, as described above. The server distributes data, whether music performance data or emulation parameter data, to all other gaming platforms participating in the current game. In other embodiments, the server may store received data for use later. For example, a band may elect to use the stored data for the performance of a band member who is unavailable to play in a specific game.

Referring now to FIG. 1D, one embodiment of a screen display for remote multiplayer play is shown. The embodiment of the screen display shown in FIG. 1D may be used for head-to-head play, for simultaneous competition, and for cooperative play. As shown in FIG. 1D, a local player's lane 109 is shown larger than the lanes 106, 107 of two remote players. The avatars for remote players may appear normally on stage in a similar manner as if the avatars represented local players. In other embodiments, the lanes may be displayed in a similar manner for both local multiplayer and remote multiplayer. In still other embodiments, in remote multiplayer, only the local player or player's avatars may be shown.

As shown in FIG. 1D, the lanes 106, 107 associated with the remote players are shown smaller than the local player's lane 109. In other embodiments, the lanes of one or more remote players may be graphically distinguished in any other way. For example, the remote players' lanes may be shown translucently. Or for example, the remote players' lanes may have a higher transparency than local player's lanes. Or the remote players' lanes may be shown in grayscale, or in a different screen location than local players' lanes. In some embodiments, a remote vocalist's lane may not be shown at all, and instead only the lyrics of the song may be displayed.

In some embodiments, multiple players participate in an online face-off between two bands. A “band” is two or more players that play in a cooperative mode. In some embodiments, the two bands need to have the same types of instruments at the same difficulty level selection, i.e., a guitarist playing on “hard” and a bassist playing on “medium” playing against a guitarist playing on “hard” and a bassist playing on “medium.” In other embodiments, the two bands still need to have the same types of instruments but the difficulty selections can be different: Players participating at a lower difficulty level simply have fewer gems to contribute to the overall score. The song to be played may be selected after the teams have been paired up. Alternatively, a band may publish a challenge to playa particular song and a team may accept the challenge.

For example, a local group of players may formed a band and give their band a name (“The Freqs.”). Each of the four players in the “The Freqs” is local to one another. They may then competing against a team of players located remotely, who have formed a band called “The Champs.” In some cases “The Champs” may each be local to one another. In other cases, members of “The Champs” may be remote to each other. Each player in “The Freqs” and “the Champs” may see a display similar to FIG. 1A or FIG. 1B. However, in some embodiments, an additional score meter may be displayed showing the score of the other band. In other embodiments any other measure and indication of performance of a band may be given. For example, in some embodiments, meters may be displayed for each band indicating relative performance, crowd engagement, percentage of notes hit, or any other metric. In some embodiments, a four-in-one meter 180 as depicted in FIG. 1A may be displayed for each band. In some embodiments, avatars from both bands may be depicted on the stage.

In some embodiments, the bands “trade” alternating portions of the musical composition to perform; that is, the performance of the song alternates between bands. In these embodiments, musical performance output from “The Champs” is reproduced locally at the gaming platform used by “The Freqs” when “The Champs” are performing. Similarly, the musical performance of “The Freqs” is reproduced remotely (using the emulation parameter technique described above) at the gaming platform of “The Champs” when “The Freqs” are performing. In other embodiments, the bands play simultaneously. In these embodiments, the displayed score may be the only feedback that “The Freqs” are provided regarding how well “The Champs” are performing.

In some particular embodiments, members of cooperating bands may be local to one another or remote from one another. Similarly, members of competing bands may be local to one another or remote from one another. In one example, each player is remote from every other player.

In some embodiments, players may form persistent bands. In these embodiments, those bands may only compete when at least a majority of the band in available online. In some of the embodiments, if a member of a persistent band in not online and the other band members want to compete, a gaming platform may substitute for the missing band member. Alternatively, a player unaffiliated with the band may substitute for the missing band member. In still other embodiments, a stream of emulation parameters stored during a previous performance by the missing band member may be substituted for the player. In other embodiments, an online venue may be provided allowing players to form impromptu bands. Impromptu bands may dissolve quickly or they may become persistent bands.

Although FIGS. 1A, 1B and 1D show a band comprising one or more guitars, a drummer, and a vocalist, a band may comprise any number of people playing any musical instruments. Instruments that may be simulated and played in the context of a game may include, without limitation, any percussion instruments (including cymbals, bell lyre, celeste, chimes, crotales, glockenspiel, marimba, orchestra bells, steel drums, timpani, vibraphone, xylophone, bass drum, crash cymbal, gong, suspended cymbal, tam-tam, tenor drum, tom-tom, acme siren, bird whistle, boat whistle, finger cymbals, flex-a-tone, mouth organ, marching machine, police whistle, ratchet, rattle, sandpaper blocks, slapstick, sleigh bells, tambourine, temple blocks, thunder machine, train whistle, triangle, vibra-slap, wind machine, wood block, agogo bells, bongo drum, cabaca, castanets, claves, conga, cowbell, maracas, scraper, timbales, kick drum, hi-hat, ride cymbal, sizzle cymbal, snare drum, and splash cymbal), wind instruments (including piccolo, alto flute, bass flute, contra-alto flute, contrabass flute, subcontrabass flute, double contrabass flute, piccolo clarinet, sopranino clarinet, soprano clarinet, basset horn, alto clarinet, bass clarinet, contra-alto clarinet, contrabass clarinet, octocontra-alto clarinet, octocontrabass clarinet, saxonette, soprillo, sopranino saxophone, soprano saxophone, conn-o-sax, clar-o-sax, saxie, mezzo-soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, bass saxophone, contrabass saxophone, subcontrabass saxophone, tubax, aulochrome, tarogato, folgerphone, contrabassoon, tenoroon, piccolo oboe, oboe d'amore, English horn, French horn, oboe de caccia, bass oboe, baritone oboe, contrabass oboe, bagpipes, bugle, comet, didgeridoo, euphonium, flugelhorn, shofar, sousaphone trombone, trumpet, tuba, accordion, concertina, harmonica, harmonium, pipe organ, voice, bullroarer, lasso d'amore, whip and siren), other stringed instruments (including harps, dulcimer, archlute, arpeggione, banjo, cello, Chapman stick, cittern, clavichord, double bass, fiddle, slide guitar, steel guitar, harpsichord hurdy gurdy, kora, koto, lute, lyre, mandola, mandolin, sitar, ukulele, viola, violin, and zither) and keyboard instruments (including accordion, bandoneon, calliope, carillon, celesta, clavichord, glasschord, harpsichord, electronic organ, Hammond organ, pipe organ, MIDI keyboard, baby grand piano, electric piano, grand piano, janko piano, toy piano, upright piano, viola organista, and spinets).

Referring now to FIG. 2A, a flow chart illustrating one embodiment of a method for allowing players to form transient online bands is shown. Players may form online bands for the purpose of playing a rhythm action game cooperatively and/or competitively with remotely located players. In brief overview, the method comprises plugging into a local machine which assigns the player, who has chosen a character to play as, to a slot. One or more additional local players may join. The player may then find additional players, invite specific players, or remove players from the band. Once the band slots have been filled, the game may begin. Although FIG. 2A discusses online functionality in the context of MICROSOFT XBOX LIVE, it should be understood that any game system and any network functionality associated with any game system may be used.

Still referring to FIG. 2A, a player may decide to play an online experience by selecting an option from a menu. In some embodiments, a game may provide a “quickplay” option in which a player may play one or more songs with a number of other players without first creating a persistent band. Throughout the description, this mode may be referred to as “quickplay” or “transient band” mode.

The game may first detect whether one or more local players are present, and which simulated instruments the local players would like to use. In some embodiments, the game may detect the type or types of controllers plugged into the game to determine the simulated instruments used by the local players. In other embodiments, the game may allow a player to select their instrument. For example, if the game detects that a player has plugged in a guitar controller, the game may allow a player to choose between playing guitar or bass parts. For local players, slots in a band may also reflect the order the controllers are plugged into a game system, and/or the arrangement in which the controllers are plugged into given physical slots on the game system. Or for example, slots in a band may reflect the order avatars appear on stage during performances.

After the game has detected a local player using a simulated instrument, the game may allow the player to select or create a character to represent the player in the game. A character may comprise any information to the player, and may be customized by the player in any way. Character attributes which may be set by a player and/or set automatically include a character name, screen name, hometown, motto, favorite music, skill level, amount of in-game money, bands the character is a member of, and amount of in-game fame. In some embodiments, a player may be able to customize an avatar representing the character. A player may alter any attribute of an avatar including without limitation gender, appearance, clothing, style, gestures, size, height, color, in-game instrument, gear, demeanor, tattoos, face paint, and makeup. In some embodiments, a player may modify their avatar's clothing or instrument with virtual stickers. In some embodiments, a player may save a character so that it can be accessed later. In other embodiments, the character may be erased after a use. In some embodiments, character data may be uploaded and/or saved on a server so that other players may view the character. In some embodiments, a server may provide a leaderboard or similar feature which allows users to browse through a listing of characters and view their past performance. In some embodiments, a single player may be able to create and/or maintain multiple characters.

After a player has created a character or selected an already created character, the player may be taken to a screen which allows the player to assemble or join a band. Referring ahead to FIGS. 3A and 3B, example screenshots of a band selection screen are shown. This example screen may be used in conjunction with the band matching methods illustrated in FIGS. 2A and 2B. In brief overview, in FIG. 3A the player “rocker hmx” is currently joined to playas a band using the avatar “Jyllian”. Three open slots labeled “searching” are shown signifying that searching for these members is taking place online.

A band may have a leader who is designated as the decision maker for certain matters involving the band. In some embodiments, the band leader may have the sole authority to find new players for a band, which may entail either asking specific players to join or using an online player matching service. In some embodiments, the band leader may have the sole authority to remove band members.

As shown in FIG. 2A, after arriving at the band formation screen, a player may be able to invite one or more local or remote players to join the band. In some embodiments, the player may be able to select from a list of friends, or a list of players the player has previously played with to invite. In other embodiments, the player may be able to search through a listing of players to invite. In these embodiments, the listing may be sorted by skill level, latency, instrument, physical location, experience, or username in order to aid the player's search. In some embodiments, after a player has joined a band, the player may be able to select the character they want to play as. For example, in FIG. 2A, the player “rocker hmx” may select among a number of characters that player has created using the “select rocker” option (shown in FIG. 3A), or may have the option to create a new character. In some embodiments, certain characters may not be available to a player if the characters correspond to a different instrument than the user is playing.

A band formation screen may also have the option to search for additional remote players in the cases where there is not a specific player the player would like to invite into the band. Referring ahead to FIGS. 3A and 3B this may take the form of a “Search” and/or “Cancel Search” menu option displayed. This option (which may also be included in the screen of FIG. 3B) may employ an algorithm which finds players of similar skill to play against. After a player has selected to search for players, the player may also be able to cancel the search, such as if the search is taking too long, or another local player arrives. In some embodiments, after a player selects to search for more players, the one or more players found by the search algorithm will appear in the slots as members of the band. In other embodiments, a player may be prompted “do you want to allow player ______ to join?” and allowed to select yes or no. In any of these embodiments, the band leader may be able to kick out a player after they have joined. In some cases, after a player selects to search for players, a search algorithm may determine that the player matches with another, larger, partially formed band looking for players. In these cases, the player may be prompted as to whether they want to join the matching band instead of finding players for their own band.

A search algorithm used to match players may match players based on any criteria including, without limitation, skill, latency, experience, instrument, physical location, language, and hardware. For example, in one embodiment, a search algorithm may first search for players of the required instruments of a comparable skill level. In some embodiments, skill level may be measured using a history of past online performance. After identifying a pool of comparably skilled players of the required instruments, the search algorithm may select the player with the lowest latency to the forming band. In this embodiment, the latency measure may be either the latency between the potential players and the searching player or between the potential players and a given server.

After a transient band is formed, the band may then be given the opportunity to play one or more songs as a band. In some embodiments, one or more members of the band may be replaced after a song. In some embodiments, a transient band may be given the option to change into a persistent band.

Referring back to FIG. 2A, after connecting a controller and selecting a character, a player may also have the option of starting a session with a persistent band of which they are a member. This is shown in FIG. 2A as the “assemble a band” flow. In that flow a player selects a band they are a member of, and then invitations are sent to the other players to join a session as that band. Invitations to other players can be sent via any means, and appear on the other players' screens' in any manner. Invitations may be sent using the “Invite Friend” menu option as shown in FIGS. 3A and 3B. In one embodiment, each invited player may receive a pop-up message saying “Player ______ has invited you to play with ______ the band.” If a player accepts an invitation to join a band, they may be displayed on a screen such as FIG. 3B, with the indication “[player who invited them]'s Guest”.

A game may also provide a screen for creating and editing properties of a band. These properties may be stored locally or on a server. Properties of a band may include the names of the band members, the date the band was created, the name of the band leader, the number of songs the band has performed, the amount of fame the band has accumulated, the current amount of “buzz” surrounding the band, the number and type of venues the band has played at, the band's “hometown,” a band logo, band possessions such as vehicles, equipment, and money, and band employees, such as roadies, set designers, managers, and agents. In some embodiments, some or all of these properties may be set by a member of the band or by the band leader. In other embodiments, some or all of these properties may be determined by a central server tracking the band's progress. In some embodiments, an external web site may be provided which allows a band's attributes and/or progress through a tour to be viewed over the internet. In one of these embodiments, the web site may give bands an option to make their attributes and statistics public

Referring now to FIG. 2B, a flow chart illustrating an embodiment of a method for matching suitable remote players to one or more local players of a rhythm-action game is shown. In brief overview, the method comprises: identifying one or more local players to participate in a networked session of a rhythm action game corresponding to a predetermined band template, each local player associated with a type of simulated musical instrument (step 201); identifying a first type of simulated musical instrument represented in the predetermined band template and not associated with any of the one or more local players (step 203); identifying a remote player associated with the first type of simulated musical instrument (step 205); and providing a networked session of the rhythm action game with the one or more local players and the identified remote player (step 207). Any of the steps shown may be performed by a game console, a centralized server, or a plurality of game consoles.

Still referring to FIG. 2B, now in greater detail, one or more local players may be identified to participate in a networked session of a rhythm action game corresponding to a predetermined band template, each local player associated with a type of simulated musical instrument. The local players may be identified by any means and at any time. For example, the local players may be identified by one or more simulated instruments connected to the local game console. The local players may be identified at different times. For example, a local player may begin searching for remote players, and another local player may join midway through the remote search process or after the remote search process has been completed.

A band template may comprise any specification of allowable instrument types and numbers of those types for a rhythm-action game. A band template may specify minimum and/or maximum numbers for each instrument type. For example, a band template may specify that a band may have up to two guitarists, one drummer, and one vocalist. Or for example, a band template may specify that a band must have at least one guitarist, at least one vocalist, and no more than one drummer. Or for example, a band template may specify that a band may have a guitarist, a bassist, a drummer, and a vocalist.

The method may then comprise identifying a first type of simulated musical instrument represented in the predetermined band template and not associated with any of the one or more local players (step 203). For example, if a guitarist and a drummer are the local players, and the band template specifies that a band includes a guitarist, a bassist, a drummer, and a vocalist, the method may identify that a vocalist and bassist are the types not represented locally. This identification may be performed either by the local console, a central server, or a remote console.

The method may then comprise identifying a remote player associated with the first type of simulated musical instrument (step 205). The remote player may be further identified by any criteria, including without limitation the remote player's presence in a group having one or more other needed instrument types.

After the players have been identified, a networked session of the rhythm action game may be provided with the one or more local players and the identified remote player (step 207). The session may be hosted on any of the local console, the remote console, or a central server. The session may comprise any of the gameplay described herein, and may comprise a persistent band or a quickplay session.

Quickplay Example

The following paragraphs provide a detailed example of how online matchmaking may be implemented in a game that allows up to four players to play together, including 2 guitarists, one vocalist, and 1 drummer. In the quickplay mode, players are able to form a cooperative band to play songs without any persistent data stored about their team. A full band consists of 1 drummer, 1 vocalist, and 2 guitarists. When the user first enters our matchmaking screen, he is allowed to join the band and become its leader. Any other players in the same room can also connect instruments to the console and join up as members of the band.

At this point in the process, the player has created a session on a matchmaking server. However, the session is marked as “private”, meaning that no one else can see that it exists yet. If the player only wants to play online with friends, he then selects an “Invite Friend” button. This will bring up a list of the player's friends, and upon selecting a friend, an invite message is sent to the matchmaking server, which then relays the message to the friend if he is currently playing the game. If the friend accepts the invite, he is given the appropriate information that will allow him to connect to the session, even though it may still be private on the matchmaking server. An invite system may be structured such that the friend can receive an invite while in any game mode (e.g. mid-song, in single-player modes, etc.). In this way, it does not require him to be sitting in a lobby to see that his friend would like to play with him.

A user may also decide that he would like to play with strangers. To do this, he selects a “Find Players” option on the matchmaking screen. At this point, the screen goes into a “searching” state. A matchmaking algorithm optimized to form complete bands as quickly as possible may then be started:

-   -   1) The player's console identifies the instruments that are         present locally (step 201) and then sends a search request to         the matchmaking server along with a list of the instruments that         the local band contains. The matchmaking server will search its         database for every session that has marked itself as “public,”         and returns a list of the sessions that have the correct empty         instrument slots (steps 203 and 205). For example, if the         searching session has a guitarist and drummer, the matchmaking         server will filter out every session that already has a drummer,         or two guitarists. Note that having one or no guitarists is         acceptable since bands can have two guitarists, but only one         drummer.     -   2) The console receives the list of viable sessions and sorts         them, giving higher priority to sessions that have fewer         available slots. This may enable full bands to fill up quickly         and can proceed to playing the game. It may also reduce load on         the server to have sessions removed from the public pool as         quickly as possible.     -   3) The console attempts to join the first session in the list,         where the hosting console performs a full handshake and         verification that the instrument configuration is legal. The         hosting console will reject if the slots have already been         taken, if the remote console is currently attempting to join a         different session, or if the remote console has already moved on         past the matchmaking screen.     -   4) If the join is successful, the algorithm stops and the         console is now a member of another's session. Otherwise, the         game looks at the next session in the list and repeats step 3 as         many times as there are results in the list.     -   5) If the game has gone through the entire search list and has         still been unable to join another session, he then tells the         server to mark his own session as “public”. At this point,         another console may join his session. If this ever happens, the         game will stay in this “public” state until the band fills up or         the host decides to move on with an incomplete band. Also, once         a remote user has joined, the game will never move on to the         next step. Note also that the host must update its current         instrument configuration on the matchmaking server every time a         new console joins the session.     -   6) The game waits a random amount of time between 10 and 20         seconds. If no remote console joins the session in this time, he         sends another search ping to the matchmaking server and repeats         2-5. The session will stay “public” on the server, but will         reject any join requests if he is currently waiting for a join         request from another host.     -   7) Once a full complement has joined the session and/or the user         of the host console designates that he is satisfied with the         band composition (which may include the user deciding to play         with one or more open slots) a game starts with the joined         consoles (step 207).

Head to Head Example

In some embodiments, the matchmaking algorithms described herein may be applied to head-to-head competitive modes, such as one-on-one remote competitions and remote “battle of the bands” competitions. Matchmaking with strangers in head to head modes uses a modified version of the above algorithm, in which players are grouped with opponents that are using the same instrument type.

In some modes, players with a guitar controller are required to choose whether they want to play a song's guitar part or bass part before they enter the matchmaking screen. In those cases, guitarists are only matched up with other guitarists who chose the same part that they did. In other modes, users are required to choose a difficulty level before they are match. In those cases, only players that have chosen the same difficulty will be grouped together.

Head-to-head modes may fall into two general categories: “Player Match” and “Ranked”. Player Matches are casual encounters in which no stats are recorded. In Player Matches, the user may invite his friends to play with a mechanic that is similar to Band Quickplay. In Ranked matches, details about the winner and loser are tracked so that users may be ranked on a leaderboard. Players are not allowed to invite friends to play them in a Ranked match, as that would allow players to rig matches in order to abuse the ranking system.

Persistent Band Example

In some embodiments, the matching methods described herein may be applied to persistent band modes. For example, a game may provide a “World Tour” option which allows persistent bands to make progress as a group together through a set of venues, events, and songs, and resume their progress later if they desire.

After choosing the persistent mode, a player chooses one of four options:

-   -   1) Start a new band     -   2) Substitute for an existing band     -   3) Select an existing band that the user owns     -   4) Select an existing band that the user is a member of but does         not own

When a player chooses to start a new band, he will own the band. The user is taken to a matchmaking screen that may look similar to the matchmaking screens for Quickplay (FIGS. 3A and 3B). Just as in the other modes, the user can keep his session private and invite his friends directly into the session. He can also select “Find Players,” which will mark his session as public. At this point, random strangers may join his session, provided they have the correct instruments. Unlike Band Quickplay, however, this mode may not prompt the player's console to start looking for sessions to join. In persistent mode, the creator of the band may be guaranteed to be the host. After the user has proceeded past the matchmaking screen, he will have the option to make any users currently in the session permanent members of the band if desired.

When a player chooses to substitute for a band, he will be taken to a searching screen, where he will wait while the game asks the server for a list of bands that have a slot available for his instrument. This search will only find sessions that have marked themselves as public. Once the server has returned the list, the game will sort the list, giving highest priority to larger bands. The game then starts at the top of the list, and attempts to join each session in order. As soon as a join request is accepted, the console joins the session and the user joins the host on the matchmaking screen. At that moment, he is a “substitute” or a temporary member of the band, though the host may decide to promote him to a permanent member.

If the player chooses a band that he has already created, he will be taken again to the matchmaking screen. As before, he will have the option to invite his friends or allow strangers to join the band if he wishes. However, any other remote player that he has already added to the band's permanent roster will also be able to join into the band, even without him explicitly inviting the player or making the session public.

If a player chooses a band that he is a member of, but is not the owner, he is taken to a searching screen. He sends a special request to the matchmaking server which contains the unique ID of the band. The matchmaking server looks through all its existing sessions to see if the owner is currently playing Band World Tour for that band. Even if the session is marked as private, the matchmaking server will return the connection info for the session so that the user can join up. This structure ensures that the band owner doesn't have to send out invites to each friend to join the session.

In some embodiments, though the sessions of the remote players and the local players are networked and in communication, the remote members of the band or the leader can perform certain actions asynchronously from each other before beginning gameplay, such as look at band leaderboards, i.e., high score tables, modify their avatar's appearance, or view or alter the band profile, while the members or leader are waiting for all members of the band to be ready to play. These actions are possible by desynchronizing the interfaces, or “shells,” of the consoles until all players are ready to play the game. Advantageously, the invention provides a notification system to inform players of the actions other players are performing, such as players joining or leaving, what other players are doing, or that other players are ready to play. FIG. 4A depicts a flow similar to that of FIG. 2A, but with the players using asynchronous shell interfaces to interact with the game and to send and receive notifications to/from other players' consoles. Although FIG. 4A omits the remote player management aspect of FIG. 2A, the remote player management is still available and present. It is removed from FIG. 4A for solely for clarity.

As shown in FIG. 4A, the local player (or players) chooses a band 400 and enters matchmaking 405. The local player joins the session and is assigned a slot based on their instrument 410. From this point, any of the following actions and interactions with remote players can occur in any order. The local player chooses a character or avatar 415 and when he indicates he is ready 420, he is taken to a Hub screen 425, which is, in effect a standby screen.

FIG. 4B is a screen shot depicting a player's view of the Hub Screen 425. Here, the Hub 425 is the screen as-seen by the player zslmtu236, described below. From the Hub 425, the player can select “Start Tour” 450 which indicates he is ready to play the game and which will take him to a waiting screen 445, or he can select “Play Challenge” 452 or “Battle of the Bands” 454 which allow the band to complete certain achievements or play against other bands for a high score for a particular song, set of songs, and the like. From the Hub Screen 425, the player can also select “Rock Shop,” 435 “Band Profile,” 440 and “Leaderboards,” 430 which take the player to the respective areas described below. The player may also select “back” 456 to take the player back to the Matchmaking area 405.

Asynchronous to the local player or where in the flow the local player is, the remote player also chooses a band 480 and connects to the local player's band 485. The remote player also enters matchmaking 405. The remote player joins the session and is assigned a slot based on their instrument 410 and selects a character 415. When the remote player indicates he is ready 420, he is also taken to the Hub screen 425.

As described above, from the Hub screen 425, the local player or remote player can view high score tables (“leaderboards”) 430, visit the Rock Shop 435 (character/avatar customization), view or alter the band profile 440, or indicate that he is ready to begin gameplay at which point he is taken to a waiting screen 445. Again, any player can be at any point in the flow relative to the other players' consoles. For example, while the remote player is joining 410, the local player can be in the Hub 425, in the Rock Shop 435, etc. Advantageously, the alternative is true as well; the remote player can be in the Hub 425 or viewing the band profile 440 or other actions while the local player is still choosing his character or avatar 415. The local or remote player can also indicate he is ready from the Hub 425 and wait for the other players to finish in the Rock Shop 435, viewing high score tables 430, etc, and when all players have indicated they are ready to begin gameplay (via the Hub 425), the game begins.

FIGS. 5A, 5B, 5C, and 5D depict remote players and the leader performing various actions described herein asynchronously via their shells while waiting for all players to be ready. FIG. 5A depicts the matchmaking area 405 described herein, as seen by player Deep Dish (playing as “Tommy”), where players join slots of the instruments of the band template. In 5A, the players have already chosen their characters and are already in their slots 420. For example, the character “Ethan” is assigned to the guitar, “Tommy” is assigned to the drums, “a” is assigned to the microphone, and “Eric” is assigned to the guitar. In this embodiment, the players do not all stay on the matchmaking screen until everyone is ready to play. Instead, remote players—here “Ethan,” played by the player The DG, “a,” played by the player HMXNinjaShack, and “Eric,” played by the player zslmtu236—are interacting on their consoles with the various customization and high score table screens while waiting for everyone to be ready to play. In this example, Tommy, played by the player Deep Dish, is still in matchmaking 405 and has not indicated he is ready to play. Ethan is indicated 505 as viewing the leaderboards 430 and “a” is indicated 510 as being in the character customization area (i.e., the “Rock Shop” 435). Eric is indicated 515 as being ready to play the game and is thus marked as “Ready for World Tour.”

FIG. 5B depicts the screen zslmtu236 (playing as Eric) sees after he has indicated he is ready to play the game. He is taken to a waiting screen 445 where the other players' activities are displayed. As before, player Deep Dish (Tommy) is in matchmaking 405, player The DG is viewing the leaderboards 430, and HMXNinjaShack is in the Rock Shop 435. Zslmtu236 can see what the other players are doing so he knows who is preventing the game from starting and who he is waiting for.

FIG. 5C depicts the screen HMXNinjaShack sees while he is in the character customization screen, i.e., the Rock Shop 435. While in the Rock Shop 435, HMXNinjaShack can perform all of the customizations described herein, e.g., alter clothing, haircuts, tattoos, etc. Beneficially, in this embodiment, HMXNinjaShack is alerted 520 that zslmtu236 is ready to play the game via a notification alert. The notification alert 520 is a network notification sent between game consoles of the players upon a player transitioning to or from another screen, e.g., to or from the Hub 425, to or from the Rock Shop 435, the Band Profile 440, etc. The notification 520 instructs HMXNinjaShack that other players are waiting on him to finish customizing his character so all players can start playing the game. When HMXNinjaShack is finished customizing his character, he is taken to the Hub screen, where he can indicate he is ready to start playing the game.

FIG. 5D depicts the screen player The DG sees, i.e., the leaderboards 430, while waiting for other players to be ready to play. In FIG. 5D, The DG is alerted 525 that player Deep Dish has joined. This is advantageous because if The DG was viewing the leaderboards 430 while waiting for all players to join the networked session, now The DG can return to the Hub 425 and indicate he is ready to play.

Aspects of the present invention may be provided as one or more computer-readable programs embodied on or in one or more articles of manufacture comprising computer readable media. The article of manufacture may be a floppy disk, a hard disk, a CD-ROM, DVD, other optical disk, a flash memory card, a PROM, a RAM, a ROM, or a magnetic tape. In general, the computer-readable programs may be implemented in any programming language, LISP, PERL, C, C++, PROLOG, or any byte code language such as JAVA. The software programs may be stored on or in one or more articles of manufacture as executable instructions. In some embodiments, portions of the software programs may be stored on or in one or more articles of manufacture, and other portions may be made available for download to a hard drive or other media connected to a game platform. For example, a game may be sold on an optical disk, but patches and/or downloadable content may be made available online containing additional features or functionality.

Having described certain embodiments of the invention, it will now become apparent to one of skill in the art that other embodiments incorporating the concepts of the invention may be used. 

1. A method for providing interaction between remote players and one or more local players of a rhythm-action game executed on a game platform, the method comprising: a. identifying, by the game platform, one or more local players to participate in a networked session of a rhythm action game corresponding to a predetermined band template, each local player associated with a type of simulated musical instrument; b. identifying, by the game platform, a first type of simulated musical instrument represented in the predetermined band template and not associated with any of the one or more local players; c. identifying, by the game platform, a remote player associated with the first type of simulated musical instrument; and d. communicating, by the game platform, with a game platform of the remote player, to establish a networked session of the rhythm action game with the one or more local players and the identified remote player before initiating a game session for the one or more local players and the identified remote player.
 2. The method of claim 1, wherein the networked session of the rhythm action game further comprises a standby interface for the one or more local players and a standby interface for a remote player wherein the standby interfaces for the one or more local players and the remote player allow the one or more local players and remote player to perform actions that are part of the networked session, where the actions of the one or more local players are asynchronous with respect to the actions of the remote player.
 3. The method of claim 2 wherein the actions comprise avatar customization.
 4. The method of claim 2 wherein the actions comprise viewing a leaderboard.
 5. The method of claim 2 wherein the actions comprise viewing or altering a band profile.
 6. The method of claim 2 wherein the actions comprise indicating the player is ready to play.
 7. The method of claim 2 wherein the actions comprise the player participating in choosing an avatar.
 8. The method of claim 2 further comprising when all players have indicated that they are ready to play, synchronizing the networked session of all players, and initiating a gameplay session.
 9. The method of claim 1 wherein if the identified remote player was previously added to a networked sessions with the local player and added to a band, the identified remote player is able to join the networked session without an invitation from the one or more local players.
 10. The method of claim 1, wherein at least one of the one or more local players is identified after the remote player is identified.
 11. The method of claim 1, further comprising displaying, to the one or more local players, an option to search for a remote player.
 12. The method of claim 1, further comprising displaying, to the one or more local players, an option to allow one or more remote players to join.
 13. The method of claim 1, further comprising displaying, to the one or more local players, an option to invite a specific remote player.
 14. The method of claim 1, wherein step (b) comprises identifying a plurality of types of simulated musical instrument represented in the predetermined band template and not associated with any of the one or more local players; and wherein step (c) comprises identifying a plurality of remote players, each remote player associated with a different one of the identified plurality of types of simulated musical instruments.
 15. The method of claim 14, wherein the plurality of remote players are local to each other.
 16. The method of claim 1, wherein step (b) comprises identifying a plurality of simulated musical instruments represented in the predetermined band template and not associated with any of the one or more local players; and wherein step (c) comprises identifying a plurality of remote players, each remote player associated with one of the identified plurality of simulated musical instruments.
 17. A computer program product, tangibly embodied in a computer-readable medium, for providing interaction between remote players and one or more local players of a rhythm-action game, the computer program product including instructions operable to cause a data processing apparatus to: a. identify one or more local players to participate in a networked session of a rhythm action game corresponding to a predetermined band template, each local player associated with a type of simulated musical instrument; b. identify a first type of simulated musical instrument represented in the predetermined band template and not associated with any of the one or more local players; c. identify a remote player associated with the first type of simulated musical instrument; and d. communicate with a game platform of the remote player, to establish a networked session of the rhythm action game with the one or more local players and the identified remote player before initiating a game session for the one or more local players and the identified remote player.
 18. The computer program product of claim 17, wherein the networked session of the rhythm action game further comprises a standby interface for the one or more local players and a standby interface for a remote player wherein the standby interfaces for the one or more local players and the remote player allows the one or more local players and remote players to perform actions that are part of the networked session asynchronously from the other player.
 19. The computer program product of claim 18 wherein the actions comprise avatar customization.
 20. The computer program product of claim 18 wherein the actions comprise viewing a high score table.
 21. The computer program product of claim 18 wherein the actions comprise viewing or altering a band profile.
 22. The computer program product of claim 18 wherein the actions comprise indicating the player is ready to play.
 23. The computer program product of claim 18 wherein the actions comprise the player participating in choosing an avatar.
 24. The computer program product of claim 18 further comprising instructions operable to cause the data processing apparatus, when all players have indicated that they are ready to play, to synchronize the networked session of all players, and initiate a gameplay session.
 25. The computer program product of claim 17 wherein if the identified remote player was previously added to a networked sessions with the local player and added to a band, the instructions are further operable to cause the data processing apparatus to allow the identified remote player to join the networked session without an invitation from the one or more local players. 